#matt yoka

[chorusfm]

OSEES – “Stunner” (Video Premiere)

Today I’m excited to share with everyone the latest single and music video from rock band, OSEES, called “Stunner.” John Dwyer shared, “Matt Yoka came up with the idea of filming us playing the song in our rehearsal space with as many people as we could fit, and as many formats as he could stomach. Hi-vis on all the kids. Constricted & claustrophobic just as contemporary routines can be. Noise, obstacle and pointless spectacle. There is no escape!” If you’re enjoying this latest slab of rock, their forthcoming LP, Intercepted Message, will be released everywhere music is sold on August 18th via In The Red Records. --- Please consider becoming a member so we can keep bringing you stories like this one. ◎ https://chorus.fm/features/osees-stunner-video-premiere/

[half-a-tiger]

OH SEES - “Captain Loosely”, off the album ‘Face Stabber’, out on Castle-Face Records August 16th, 2019.

Video by Matt Yoka

From the border of the USA and Mexico

Produced by Connie Melkonian

Dedicated to the victims of the El Paso mass shooting, August 3rd, 2019

[sinceileftyoublog]

The Versions of Shannon Lay

Photo by Denée Segall

BY JORDAN MAINZER

The story of how LA-based folk singer-songwriter Shannon Lay came to commit to music full-time is legendary. It’s akin to Radiohead seeing Jeff Buckley live leading to Thom Yorke’s heartbreaking performance on “Fake Plastic Trees”, but this time, it’s a different kind of inspirational folk luminary. Lay watched Jessica Pratt’s quiet, contemplative, yet all-encompassing music dominate a room; if there’s a demand for it, she, too, could do it, she thought after watching Pratt’s set. Lay decided to quit her job of 7 years at a vintage shop in August of 2017, the month being the namesake of her best album to date and one of the finest of 2019.

August exemplifies so much that Lay does well. The surprisingly linear spontaneity of opener “Death Up Close”--which starts with a misstep and eventually features a Mikal Cronin saxophone solo--is contrasted by the flaneur of “Nowhere”, an ode to enjoying the circular journey without an end, where her voice travels in the opposite direction of the song’s lilting melody. “Will I ever see through?” Lay asks, but not too bothered, layered over drums and hand claps. She sees the humor and delight in the smallest moments: Gorgeous and simple standout “Shuffling Stoned” is a scene in a record store in New York City, a customer buying weed from his dealer as small spider crawls on his stack of records. Many people would want the spider killed, but Lay sees it as no less a sign of life than anybody else. Most remarkable is “November”, dedicated to the woman left behind, Molly Drake, the mother of the late Nick. “Molly did you feel the sting / Of November songs gone quiet,” she asks, again not expecting an answer but knowing that asking the question, embodying another’s state of mind, is what’s important. 

Live last month at Lincoln Hall opening for Cronin, Lay and her band members (Denée Segall, Sofia Arreguin, and Shelby Jacobson) were effortlessly good. August songs like “Sea Came to Shore”, in studio just guitar and violin plucks, were much more forceful on stage, while old favorites like “Parked” allowed Lay to show off her finger-picking and English folk chops. The band ended their set with an a capella, almost unrecognizable version of Italo house classic “Everybody Everybody” by Black Box, further cementing Lay’s ability to adapt material to suit her style. The audience, even one prepared for the hell-raiser to follow, loved it. It makes sense; if anybody has experience slaying in front of all types of crowds, it’s Lay, who also plays in Ty Segall’s Freedom Band. She’s thankfully unafraid to call out talkers when necessary, as she told me over the phone earlier this year. “Nick Drake quit halfway through his first tour because people were talking during his set,” she reminded me. “People [who talk] don’t have empathy...they’ve never been up on stage,” she added. Ever the wise reader of people, but one too thankful to let it get to her too much, Lay moves on.

During our interview, Lay shared the stories behind some of the songs, videos, and lines from August, as well as explained her inspiration from The Simpsons, true crime, and Nick Drake and Karen Dalton. Read our conversation, edited for length and clarity, below. 

at Lincoln Hall

Since I Left You: A lot of the context of the album you’ve shared in other interviews or through the bio. Is there something else the listener might not pick up in terms of how August is unique as compared to your past releases?

Shannon Lay: I wanted this one to be overtly positive. Not as moody as my last ones. I think that was the main difference that I felt--this undercurrent of joy I had never really had making a record. There was always a heartache involved or a brooding of the state of the world. Now, more than ever, I feel like you gotta do what you want to do. Being able to experience and appreciate that and encouraging other people to do that too.

SILY: Did doing music full-time help you think about things in new ways?

SL: Yeah, for sure. It kind of freed up so much brain space that was taken up by the usual life stuff. It was cool to put all of my energy into one thing I cared about so much. It was a really amazing experience I had never really had.

SILY: What was your job?

SL: I was working at a vintage store called Squaresville. It was a great little store. I grew up there, working there from 19-26. Really formative years of my life. The store bought clothes from the public, so there were all these new faces coming in. The staff would have been an amazing sitcom. Everyone was just the most incredible character. It was a ton of fun. My boss at the time was just so supportive--always let me go on tour and come back. She was a huge reason I was able to do this in the first place.

SILY: That’s nice to hear. A lot of the time when you hear about these types of stories, it’s about escaping some sort of soul-sucking desk job.

SL: I was very lucky. I had a cool environment to be in.

SILY: Do you still keep up with them?

SL: Yeah, for sure!

SILY: The first song on the record--does that start with a recorded misstep?

SL: Yeah, it was a total accident. As we were going through the tape, I just fell in love with that moment. The song comes in so quick, it was kind of a “Roll it!” moment, and then the record just goes.

SILY: So it was something you just heard and were like, “We should keep that in”?

SL: Totally. When we were doing the mastering, they had taken it out, since they thought it was a mistake--we were like, “Put it back in! Put it back in!”

SILY: Where did you get the idea for the video for “Death Up Close”?

SL: Me and the director, Matt Yoka, we had been talking about that idea for a year. We finally had just enough money to pull it off. Matt’s the best in the sense that when he gets an idea in his head, he’s going to make it happen no matter what, so we just had the most fun ever. We built all of it. Everybody was so nice. Most of the people were just volunteering. The concept behind it was mainly the idea of having a safe space in your mind that’s never changing no matter how much you change. For me, that’s obviously The Simpsons, my total safe haven, end all be all childhood memory show, and something I still watch every day. It was amazing to become yellow.

SILY: Is there a specific line or joke from The Simpsons that you think about all the time?

SL: The one that comes to mind is such a weird deep cut. There are tons of them. [laughs] There’s one where George Bush moves into the Simpsons’ neighborhood...this is not funny to anybody...there’s one point where Bart comes over and George Bush yells to Barbara Bush, “Bart’s here, we gotta get him out of here,” or something, and she’s just like, “I’m making pies, it’ll be a while!” That’s the joke that I think of. [laughs] There’s so many. I also love the one where Lisa starts to play hockey and Marge has Milhouse’s teeth from the show before. I’m just like, “Stop showin’ us those.”

SILY: There are so many good Easter Eggs.

SL: Yeah, totally.

SILY: What was the story behind your video for “Nowhere”?

SL: I did that one with my house mate Chris [Slater]. He’s a great director. We just used our phones for that one. I found an 8 MM app that was available. We just went around our neighborhood taking some footage, and he put his editing magic on it. I really like the way that one came out. It was a cool visual moment.

I wish music videos had more of an impact, but I think they’ve become this weird thing. You remember back in the day, Making the Video, and they had a yacht, and it was this huge thing...the new Missy Elliott video totally harks back to it, like she has different looks and different dancers.

SILY: The song “November” references Nick Drake’s mother. You see a lot of songs about a prolific or important singer-songwriter who left too soon. Why did you decide to explore the perspective of his mom?

SL: I guess sort of the fact that he did live at home. It was just a normal night that he went to sleep, woke up, had a bowl of cereal, and took one too many pills. I just imagine his mom waking up in the morning and feeling this silence in the house. It just must have been such a crazy moment. I don’t think it was any secret he had some emotional problem, but you never expect anything like that to happen. Putting myself in her shoes for a minute, and feeling such a strong presence leave the world, it must have been really emotional and intense. At the same time, what he left behind was incredible. He’ll live forever. He’s more alive now than he’s ever been because of how many people have discovered his music. I was thinking about the inherent sadness of losing a loved one, especially someone where everyone outside of them could see their potential, but maybe they’re struggling. It’s a whole thing. [laughs]

SILY: I love the story behind “Shuffling Stone”. Do you like spiders?

SL: I do love spiders. Not when they’re on me, but I do like spiders.

SILY: “Something On Your Mind” was released before this record was even announced. Had you always planned on putting it on the record?

SL: I didn’t, but it just became clear to me that it sums up what I’m trying to portray and how I’m feeling. The amount of people who don’t know who Karen Dalton is--I’d love to spread more awareness of her. I discovered that song relatively recently and it really hit me, so I started playing it live, acoustic guitar and vocals. Whenever someone did know that song, they’d be like, “Dude, thank you so much for playing that song. I love that song.” I think it’s that kind of a tune. If you have a relationship with it, it’s incredibly special, and to discover it is a really beautiful thing. I hope it points people in her direction.

SILY: What made you want to sign with Sub Pop?

SL: When we first finished the record, I kind of did an email blast and sent the record to all the labels we like. Sub Pop got back so fast and were so stoked. I was surprised because they don’t strike me as an overtly folk label, but that was exciting to me to, to be like, “Hell yeah, let’s bring a new perspective to this established, wonderful thing.” Then I met some people from there, and they were the most wonderful people. I’ve never really experienced the resources they have before. There’s a social media guy, and a PR girl. Everybody is working so hard in their specialized zones. It’s amazing to experience and be a part of. They just seemed so down to earth while also being very professional and serious at the same time. They’re awesome.

SILY: They are pretty stylistically diverse even if they haven’t done much folk. Your sound fits just because of that.

SL: Totally, yeah. It opens a lot of doors in my mind of what I could do.

SILY: I read one review that said Jessica Pratt inspired you to dedicate all your time to music.

SL: The first time that I saw her play, I was super deep in the rock scene. I had always been in really loud bands, considering that people want to see that kind of music. I saw her open for Kevin Morby in LA, and the whole room was silent, and she was just captivating everyone. It was incredible to watch. I immediately went home and booked my first solo show. I had no idea people wanted this kind of music, and I had been making that kind of music, so let’s see what happens, let me book a show. She was totally the catalyst for that. I was so in awe of the simplicity and the beauty of what she was bringing to the table. Music like what she makes has a lasting power and timelessness where you can be anyone and anywhere in the world and people will be captivated. It’s amazing.

SILY: Is it hard for you to switch back and forth between your solo shows and playing in bands?

SL: It’s kind of easy. It’s a matter of mindset and what alcohol you’re consuming. [laughs] I always go tequila for the loud shows, wine for the quiet shows. We’re saying the same things, but in very different ways. It’s kind of nice to have both perspectives.

SILY: What’s the story behind the cover art for the new record?

SL: The guy who took the photo, Matt Reamer, mentioned he wanted to do more portrait photography. He had always a lot of live stuff. We took photos, and as I was going through them, I came across that photo. I love how ambiguous it is. I could be thinking about anything in that photo. It’s whatever you want it to be. I had the idea of getting people to do different versions of it, and it became this cool, unique thing of these different perspectives and the evolution of me in the past year. I’ve been doing a ton of cleaning house, checking in, and learning new things about myself and not taking myself too seriously. It’s been a hell of a journey, and seeing these four versions of me felt really appropriate for the record.

SILY: Are you the type of songwriter who’s always working on new songs?

SL: I’ve been kind of stuck lately, because I’ve had a lot of stuff to work on, but there’s always a ton of voice memos on my phone, little snippets I work on in the car. I look forward to when I have a block of time where I can sit down. I’ve written quite a bit of the next record, but I probably have 5-6 songs to go. I’m excited to get back into it.

SILY: Is there anything you’ve been listening to, watching, or reading lately that’s caught your attention?

SL: I just watched Euphoria. That was really good. It really inspired my eyeliner game. I’m always listening to a lot of true crime. I’m a big true crime buff. It fascinates me--the extremity of people’s actions. That’s what that song “Wild” is about on August--the things we’re capable of.

SILY: That line, “We are kind things capable of the most evil,” is very fitting. You kind of nail nature versus nurture in just that line.

SL: Yeah, totally. It’s wild. [laughs] The age old question.

SILY: Are you a Forensic Files fan?

SL: I am! Whenever I’m in a hotel room, I know it’s gonna be on, and I’m stoked.

SILY: My girlfriend and I struggle to find new episodes. It’s always our “before bed” show, and we’ll start one and midway through be like, “Wait, we’ve seen this one.”

SL: Have you ever listened to a podcast called Small Town Dicks? It’s the voice of Lisa Simpson, Yeardley Smith, and she has this podcast. It’s amazing because it sounds like Lisa Simpson doing a true crime podcast, but it’s also amazing stories.

Album score: 8.5/10

[silverandsound]

Artist: Ty SegallTrack: Break A GuitarAlbum: Ty Segall

[pixelina]

FEELS - Tell Me

Director: Matt Yoka

[tarotforsale]

These are the decks I’ve received this year! List of decks under the cut.

Brit’s Third Eye Tarot

Divinate Mystic Messenger tarot

Cute Cat Tarot

Sasuraibito tarot by Stasia Burrington

Threadbound Oracle by Cedar McCloud

Wayward Dark, Lost Hollow, and Neon Moon tarots by Pixel Occult

This Might Hurt tarot by Isabella Rotman and Addison Duke

Oriens tarot by AmbiSun

Weaver Tarot and Threads of Fate oracle by Brit June and Blaire Porter

Inazuma Eleven tarot

The Crown oracle by Emerging Toronto Artists (ETA)

Seventh Sphere RWS tarot by Labyrinthos

Illustrated Crystallary by Maia Toll and Kate O’Hara

Arcana tarot by Nix Hydra (Dana Rune and Cryptovolans)

The Adventurers Tarot by Weird Works (Brenda Ho and Thom Denick)

Lay of the Nine Worlds by Jeremy Dwiggins

Solaris Tarot by Elithien

Hush Tarot by Jeremy Hush

Voluspa rune oracle by Rann

Ian Miller’s Grim Tarock by Ian Miller and James Sherriff

Oracle of the Strange Forest by Gabrielle Kash

Tarot(塔罗牌)by Yoka Games

Jonasa Jaus tarot by Joana Jaus

Object Head tarot

Tarotwave by McKenna Calabro

Tarot in Space by Laura Loup

Divine Canine by Zack Loup

Dreamscapes oracle by Matt Hughes

Traditional Manga tarot by Shou Xueting

Cosmic Cycles tarot by Miriam E.G. and Martina Razo

Lisa Frank tarot by Ariel Hart (you can print this yourself)

Herpetology tarot by Clare Foley

Occult Ornithology tarot by Katie Whittle

The Hero’s Journey Akatsuki no Yona tarot

Crest Arcana by Brilcrist

Stunning tarot by Jonasa Jaus

Off Tarot project

Golden Wheel tarot by Mila Losenko

Visionary tarot by Addison James

Modern Witch tarot by Lisa Sterle

Cosmic Slumber tarot by Tillie Walden

Oak, Ash, and Thorn (3 Trees) tarot by Stephanie Burrows and Adam Oehlers

Mobile Suit Gundam 00 tarot

Light Visions tarot by James R. Eads

True Black tarot by Arthur Wang

Black Tarot by Da Brigh (Victoria Iva)

11:11 Tarot by Andy Nguyen

Tarot of the Divine by Yoshi Yoshitani

Fate/Grand Order tarot by Starshadow

Evolution Pokemon tarot

Spirit Tarot deck

Sayonara Wild Hearts tarot by Annapurna

Vox Arcana tarot 

Star Spinner tarot by Trungles

Voltron tarot

Dragon Age: Inquisition tarot

Golden Kamuy tarot

The Lost Forest tarot by Chelsea Santamaria

The Stolen Child tarot by Monica L. Knighton

Magical Girl tarot by Arisa Chibara

Monthly Girls’ Nozaki-kun tarot

Magi Rukh tarot

Headless Tarot by Violet Magician

YGO tarot

Runic Odyssey Oracle by Hievaya (Eva)

Bunny tarot by Mailoni Kat

Crosswinds Granblue Fantasy tarot

Botan Tarot by A Miyako M

Destiny Deck by Lisa Santine

Forest of Enchantment tarot by Lunaea Weatherstone and Meraylah Allwood

****************

Of course I forgot a couple, so honorable mention because they’re not listed: Spirit Ghibli tarot and Tides of Fate FFXV tarot

[sakurasongbook]

Ai no Hana ~From “Madame Butterfly”~ (愛の花～「マダム・バタフライ」より～)

From Review in Little Lip Theater I / ~Utau Dai New York~

Lyrics by Hiroi Ouji, composition/arrangement by Tanaka Kouhei

Performed by Matsutani Kaya (Diana Caprice) and Sonozaki Mie (Kujou Subaru)

Lyrics under the cut

Transcription/romanization by me. I’d appreciate credit if you repost them elsewhere. No reposting to lyric sites/wikis/etc., please.

ガラス細工の  白い蝶々のように 愛の真実は  壊れやすい

Garasuzaiku no  shiroi chouchou no youni Ai no shinjitsu wa  kowareyasui

どんなにつらい愛でも  わたしは救われる 捨てられて  雨に濡れ  地獄にいたから

Donna ni tsurai ai demo  watashi wa sukuwareru Suterarete  ame ni nure  jigoku ni ita kara

夢に見た (私ひとりで) 愛の花よ (祈りました) 異国の地に咲く (あなたの神様に) 愛の花よ (祈りました)

Yume ni mita  (Watashi hitori de) ai no hana yo (inorimashita) Ikoku no chi ni saku  (Anata no kami ni  inorimashita) ai no hana (Inorimashita)

たとえ嵐が来ても  繋ぎ合ったこの手を 離さないで

Tatoe arashi ga kite mo  tsunagi atta kono te wo Hanasanaide

ここにある  (傷つくことは) 愛の花よ (わかってます) わたしだけの手に  (愛を知らないから) 抱きしめよう　(信じましょう)

Koko ni aru  (Kizutsuku koto wa) ai no hana yo (wakattemasu) Watashi dake no te ni  (Ai wo shiranai kara) dakishimeyou (shinjimashou)

いつでも 可愛い人  ある晴れた日に  あなたはその青空 瞳に映して  わたしの名を呼ぶ

Itsudemo Kawaii hito  aru hareta hi ni  anata wa sono aozora Hitomi ni utsushite  watashi no na wo yobu

おどま盆ぎり  盆ぎり  盆から先ゃ  おらんど 盆が早よ来りゃ  早よもどる

Odoma bon giri  bon giri  bon kara sakya  orando Bon ga hayo kurya  hayo modoru

可愛い人  花を敷きつめ  わたしの帰りを待っている けなげなその姿が  愛を映し出す

Kawaii hito  hana wo shikitsume  watashi no kaeri wo matte iru Kenagena sono sugata ga  ai wo utsushidasu

おどまかんじん  かんじん  あん人達や  よか衆 よかしゃよか帯  よか着物

Odoma kanjin  kanjin  an hitotachya  yoka shuu Yokasha yoka obi  yoka kimon*

*this is the kanji for kimono, but it’s given the reading of ‘kimon’

[pharaoh105]

Can Tony Yoka prove himself against Martin Bakole?

Can Tony Yoka prove himself against Martin Bakole?

For different reasons, the pressure is on Tony Yoka, Sergey Kovalev and Gilberto Ramirez to show their worth, writes Matt Christie SHOULD Tyson Fury do the unexpected and keep his promise of retirement, he will leave an almighty hole at the top of the heavyweight division. The winner of the projected July 23 rematch between Oleksandr Usyk and Anthony Joshua will step up and become the obvious…

[diversifiedcontent]

Whirlybird (dir. Matt Yoka, 2020)

(via whirlybird | Sundance Institute)

[half-a-tiger]

SHANNON LAY - “Death Up Close”, from her new album, ‘August’, out August 23rd, 2019, via @subpop

Director and Editor: Matt Yoka

Video Production House: Daughters and Sons

Video Producer: Adam Kurland

Director of Photography: Will Carnahan

Hair and MakeUp: Ali Bayless

Art Director:  Inès Kivimaki and Jessica Owen

Set Construction: Tyler Frome

Visual Effects: Dan Ainsworth

Colorist: Nick Sanders

[parpatrickkennelly]

2020. Matt Yoka PLAY

[chicagoindiecritics]

New from Robert Daniels on 812 Film Reviews: Sundance 2020: Whirlybird

Editor’s not: For the purposes of this review, and through the wishes of the filmmaker and subjects, events that occurred under the auspices of news coverage, or in the chopper, will have Bob’s name attached, while present-day events will utilize Zoey. This will be especially true of direct quotes. 

Marika and Bob Tur’s relationship formed through trauma and tragedy. Not of their own, at least with regards to Marika, but of others. For over 20 years, they patrolled the skies as Los Angeles-based helicopter reporters. When a fire; high-speed chase; or murder occurred, they covered it. From the L.A. riots after the Rodney King verdict to the O.J. Simpson pursuit, their tight-knit relationship featured both highs and lows and toxic rage. In his debut feature, Matt Yoka’s Whirlybird thoughtfully documents world changing events, the couple’s marriage, and gender dysphoria through the couple’s archival footage and present-day interviews.

In some instances, Whirlybird is a love story and a recording of addiction. Marika and Bob initially bond over their respective interest in current events. Marika is reserved and initially game for Bob’s enthusiasm and drive. As stringers or freelancers, they’re ambulance chasers. To be paid, they need the best footage on the biggest stories first. And with each instance of breaking news, as the narratives grow, they’re overcome by a high. In fact, when Marika describes filming the Los Angeles riots, her face broadens in a fever pitch. Even today, both Marika and Zoey are overjoyed about the stories they covered, and we’re indoctrinated in their mirthful reactions through Ty Segall’s exuberantly percussive score.                

Nevertheless, at points, Whirlybird is an indictment on the advent of 24/7 and cable news. Marika and Bob arrive on the scene at the rise and height of the phenomenon, and are often desensitized by the events happening below and in front of them. They skirt the line between solid reporting and exploitation, empathy and callousness, safety and self-destruction—all pursued in the name of fame, ratings, and money. 

Their relationship with each other, and the stories they’re covering nearly mirror Marcia Jeffries (Patricia Neal) and Lonesome Rhodes (Andy Griffith) in Elia Kazan’s A Face in the Crowd (1957). They—especially Bob—like Marcia and Lonesome, come to look upon the people below as currency and monsters. During one instance, after Zoey and Marika have reported on the attack on Reginald Denny during the Los Angeles riots—when a truck driver was pulled from his vehicle and beaten to form a bloody pool—when referring to the Black assailants Bob remarks, “These people are not people.” Moreover, their marriage like A Face in the Crowd disintegrates, and the pieces of their former glee are whisked away under the pressure of the chopper’s rotors. 

Bob performs abusive acts: verbal and physical. Zoey is hidden behind the face and body of a misbegotten identity and the camera lens to her children: Jamie and Katy. It’d be easy to dismiss Zoey’s present-day explanations for Bob’s behavior as sanctimonious Freudian theory or scapegoating—an abusive father that didn’t love Bob enough mixed with years of repression making for a fraught cocktail. And it would be right to pause at the idea of gender dysphoria immediately leading to toxic and abusive behavior.      Throughout, Marika radiates sensitivity and understanding; she vocalizes not only the traumatic spikes in her marriage but also Bob’s behavior. And through Yoka’s detailed narrative—and by editor Brian Palmer and the filmmaker combing through hours upon hours of the couple’s taped broadcasts—we come to empathize with both. Whirlybird is a brutal and compelling portrait with regards to ambition and scope, and empathy.

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[moneymakingsense]

SUNDANCE: The director of Whirlybird," Matt Yoka, joins me to discuss his film at this year's Sundance Film Festival. Find out how one husband/wife news team changed the face of Live News forever. They were first on the scene of the 1992 LA riots when Reginald Denny was pulled from a truck and beaten. https://ift.tt/2O0cuHG Subscribe for FREE: https://ift.tt/32Gol36 - Spotify lnkd.in/d-g5z6r -Stitcher KSL360.com/moneymakingsense - Apple Podcasts How much does buying a helicopter cost to cover the news in Los Angeles?  That's what director Matt Yoka found out when he made his documentary "Whirybird."  And you can watch it at the Sundance Film Festival. Matt uncovers the life of a A husband/wife news team who were the first to cover the rio...}

[siblingla-blog]

Henry Rollins, Fred Armisen, Jack Black & an exploded Ty Segall head at @siblinglosangeles in the new @tysegall vid directed by Matt Yoka produced by @daughterandsons @coopernovack @acecatania (at SIBLING)

[soundrenaissance]

Ty Segall Releases Music Video for "Break A Guitar"

Ty Segall released his self-titled album earlier this year. Now he has released the music video for lead single “Break A Guitar” off the album. The video was directed by Matt Yoka and animated by Connor Kerrigan. Watch the video above.

In related news, Segall will be hitting the road soon. His tour will kick off on May 6 at Pappy & Harriet’s in Pioneertown, CA. See his tour schedule below:

Ty Segall 2017 Tour Schedule: Sat. May 6—Pioneertown, CA @ Pappy & Harriet’s Mon. May 8 – Albuquerque, NM @ Sister Bar Wed. May 10 – Tulsa, OK @ Cain’s Ballroom Thu. May 11 – Indianapolis, IN @ Irving Theater Sat. May 13 – Chicago, IL @ Metro Sun. May 14 – Chicago, IL @ Thalia Hall Wed. May 17 – Brooklyn, NY @ Warsaw Thu. May 18 – Brooklyn, NY @ Warsaw Fri. May 19 – Brooklyn, NY @ Warsaw Sat. May 20 – Philadelphia, PA @ Trocadero Theater Sun. May 21 – Pittsburgh, PA @ Mr. Small’s Theater Mon. May 22 – Louisville, KY @ Headliner’s Music Hall Thu. May 25 – Nashville, TN @ Mercy Lounge

Fri. May 26 – New Orleans, LA @ One Eyed Jack’s Sat. May 27 – Austin, TX @ Stubb’s Waller Creek Amphitheatre Sun. May 28—El Paso, TX @ Neon Desert Festival Mon. May 29 – Phoenix, AZ @ The Pressroom Tues. June 2—Thu. June 4—San Francisco, CA @ Colossal Clusterfest Fri. July 21—Sun. July—Los Angeles, CA @ FYF Fest Fri. Aug. 4 – Sun. Aug. 6 – Happy Valley, OR @ Pickathon Thu. Aug. 3—Vancouver, BC @ The Vogue Theatre Thu. Aug. 17—Hasselt, BE @ Pukkelpop Festival Fri. Aug. 18 — Biddinghuizen, NL @ Lowlands Festival Sat. Aug. 19—Paredes de Coura, PT @ Festival Paredes de Coura Sun. Aug. 20—Saint Malo, FR @ La Route du Rock Festival Wed. Aug. 23 – Copenhagen, DK @ Den Grå Hal Thu. Aug. 24 – Berlin, DE @ Astra Fri. Aug. 25—Mezieres, FR @ Le Cabaret Vert Charleville Sun. Aug. 27—Paris, FR @ Rock En Seine Tues. Aug. 29—Biarritz, FR @ Atabal Wed. Aug. 30—Toulouse, FR @ Le Bikini Thu. Aug. 31 – Miranda De Ebro, ES @ Ebrovisión Festival Fri. Sep. 1—London, UK @ The Coronet Sat. Sep. 2.—Larmer Tree Gardens UK @ End of The Road Festival

Ty Segall Releases Music Video for “Break A Guitar” was originally published on Sound Renaissance